Paris After Dark

George Sanders plays a French doctor without a French accent. He plays Germans well and even speaks in a German accent, but he can't play a French doctor without sounding quintessentially English.

The young brother of the French protagonist, Jean, is quite bold and brave standing up for what he believes and speaking out against oppression. To be honest it;s the French characters that make this film work. Sanders merely lends his name to sell the film, but he contributes very little in terms of his performance.

I would advise Sanders fans to stay away from this film as it comes nowhere near the quality of 'Manhunt' or 'Tales of Manhattan'.

Set in German-occupied Paris, the plot concerns the day-to-day struggles of the French resistance during WWII, made all the more believable by a cast chosen from among real-life refugees – in other words those who were eye-witnesses to the film's historical backdrop. I suspect that when "Paris After Dark" played in small-town America, the world it unveiled was still rather exotic. Even with full-on U.S involvement after Pearl Harbor, the idea of an underground resistance for most Americans was something shadowy and obscure. New York Times reviewer Bosley Crowther, though not at all impressed, did acknowledge "the terrible tragedy of the French people under Nazi occupation" which the film evoked. However, this is a film that holds its own alongside similar portrayals of the war in Europe, such as Robert Stevenson's "Joan of Paris" and William Wyler's "Mrs. Miniver", the latter in which the inimitable Greer Garson and Walter Pidgeon bolstered the moral imperative of continued U.S. involvement.

Fans of "Casablanca" (1942) will recognize the lovely Madeleine LeBeau in a supporting role. According to Wikipedia, LeBeau, along with her husband, Marcel Dalio, escaped from Paris in June, 1940, just ahead of the Nazi advance, eventually finding their way to the U.S. Fans of George Sanders will love his role as a heroic leader of the underground movement. But the stars of the film are Brenda Marshall and Philip Dorn. Some viewers may recall Marshall as the scientist Nora Goodrich in Anthony Mann's "Strange Impersonation" (1946). The Dutch-born Dorn was better known as an actor in Germany but who also moved to the U.S. with the war's outbreak. Director Leonide Moguy sought refuge in the States in a similar manner. He also directed the interesting noir, "Whistle Stop" (1946), with George Raft and Ava Gardner before returning to France. In short, this was a cast and company that appeared to know first-hand what they were portraying during one of the war's bleakest periods.

As of this writing, it is available as a Fox Cinema Archives release, and well worth tracking down, if only for the history lesson it movingly portrays.

This is not a great war film, and today it is hopelessly outdated. The credits of the film is that the actors (almost all escaped from France during the occupation) act with absolute sincerity and conviction, giving the film a character of genuine honesty as an effort to communicate how life was in Paris for Parisians during the occupation. The documentary character is missing, however, being replaced by a rather uncouth sentimentality, as if it was contaminated by Hollywood, which it apparently was. It was made for the Americans to show them how hard life was in Europe for civilians under the German occupation, and the excellent acting by Philip Dorn, Brenda Marshall and George Sanders add to the credibility. So if you can forget the sentimental smear over it all, you will find it a most valuable and realistic account of life in the resistance. One warning: there are no human Germans here.

Director Léonide Moguy rings no bells in my memory and certainly will not after watching this middling propaganda piece relating to the French Resistance during German occupation.

George Sanders - great actor with a sound French pronunciation and accent to boot! - is the outstanding item in this rather pedestrian B picture. Sadly, he is not helped by a cast that strikes me as amateurish at best. Brenda Marshall, as female lead, disappoints as a French woman, unable even to pronounce the rife Christian name of Jean, saying John instead.

Cinematography by Lucien Andriot is run of the mill, possibly because of shoestring budget limitations. The screenplay by Harold Buchman is riddled with clichés but the final idea of one man saving 50 hostages by giving up his own medically condemned life is interesting... though I have the greatest doubts about the Gestapo sparing any French lives, even if the purported killed turned himself in. 6/10, mostly because of Sanders' classy contribution.

Set amidst the Nazi occupation of Paris, this film follows the perilous lives of those trying to balance their routine "public" lives with organising the resistance. Leading their efforts is "Dr. Marbel" (George Sanders) who manages to stay on decent enough terms with the brutish "Col. Pirosh" (Robert Lewis) by helping treat his soldiers. Not everyone knows of his more patriotic role, though, and he frequently earns the enmity of his compatriots. "Blanchard" (Philip Dorn), meantime, has just returned from a period of incarceration and is pretty shell-shocked, his spirit broken and his nerves on edge. He tries to encourage a policy of co-operation - to stay alive. This causes ructions with the hot-headed "Georges" (Raymond Roe) whose tragic murder galvanises the locals just as the Allies land in Algiers. It's a bit wordy this, but Léonide Moguy does create a sense of the constant state of fear in which the population lived at the hands of their malevolent new masters. It's not a particularly notable effort from Sanders, but Dorn and firebrand Roe contrast well as people have to make almost impossible choices to keep themselves, and their families, from a potential firing squad. It's not really got an ending, more a work in progress and though perfectly watchable, isn't really very memorable.